Charles Gayle
Touchin' on Trane

★★★★½

Simply one of the best examples of truly free music in the decades after Coltrane. Also a clear and expansive representation of what Coltrane's legacy means to so many artists. This is an incredible lineup as well; the holy and unrefined sound of Charles Gayle is transformed here to show the range and precision that Coltrane had. William Parker is consistent and shows what he does best with his expressive and rhythmic bass playing. Rashied Ali comes through fairly restrained but also as a constant driving force that only he could channel. 

I will say that this is probably one of the more accessible works from the FMP label, especially from Gayle who sounds more focused and melodic than ever. While this is in the more traditional style of jazz music, it's quite clear that each player hones in the spirit of Coltrane's music. They are the physical representation of Coltrane's ideology, only expanded upon and updated for the time. 

The trio goes throughout this very cohesive album in a style which seems to call back the different eras of Coltrane's music, from the spiritual saxophone playing on "Part B" which reminds me of Coltrane's  "Alabama" or maybe A Love Supreme and Crescent. While "Part A" focuses on his hard bop and early post bop sound, where the energy is plentiful and the playing is fluid. After that the three masters seem to concentrate on what is for me, Coltrane's most terrific and mysterious period of his music. The true expression of freedom being unmatched. 

The soloing on this album is quite incredible too, especially with some of the massive drumming from Ali or the bowed bass of Parker. The way this album ended had me begging for more, it just kind of fades into nothing. I think not only does this whole album work as a fantastic piece of music but also as the grandest homage to Coltrane. Like Basquiat’s Pàter piece which called back to Picasso's Homme assis. This album stands as a memorial but also a pillar for an exciting new wave. 

Favorite Song: Part D

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